The Night of the Bloody Terror
by Andriech
Summary: A bloodless corpse shows up when Jim and Artie attend a celebration of Colorado's statehood...and they soon find themselves trapped with mounting bodies and a town's sinister secret. Vampires! Rated T because of, well, vampires. Originally a script for the Cawley Entertainment Company internet series "Back to the Wild Wild West." complete. Please R&R!
1. Chapter 1

THE WILD WILD WEST

"Night of the Bloody Terror"

by

"E. Thropp"

(Patty Wright)

DISCLAIMERS: I don't own crap, yadda yadda yadda

This was a proposed and rejected script for the Cawley Entertainment Company series "Back to the Wild Wild West".

As such, it's formatted as a script rather than as the usual "prose story". The following will give you an idea of how a script is formatted and written for television. Action and scenes are left justified. Diologue is centered, with the speakers name capitalized. It, therfore, takes a bit to get used to the format and "rhythm"/flow... but it will eventually be second nature if you give it a chance.

THIS SCRIPT IS REGISTERED WITH THE WGA.

TEASER

FADE IN:

EXT. DANSVILLE STREET – NIGHT

A brick mansion, it's first floor windows lit brightly. As CAMERA MOVES toward a lighted window on the main floor of the mansion –

DISSOLVE THROUGH TO:

INT. DINING ROOM – NIGHT

The town's prominent folk, and WEST, are lingering over the end of a meal, including GOBLETS of RED WINE. MAYOR CALEB JACKSON, SHERIFF JACOB ELI, DOCTOR OSWALD ROBERTSON, Woman's Society President CLARA BLUNDELL, banker ALBERT HUSTIN and the Mayor's daughter PHOEBE JACKSON - a pale blond, thoroughly vapid woman in her early twenties.

As they talk, SERVANTS come in and out of the room, cleaning up the meal.

PHOEBE

(eagerly)

Mister West, I hope you've found our reputation for grand entertaining and the gayness of our parties a welcome truth. I am just sure you'll have only wonderful things to report about us.

MAYOR

We are understandably humbled that President Grant is considering visiting our little town.

WEST

Mayor Jackson, your town's ability to come through last year's crop failure without any deaths from starvation has Washington very intrigued.

Doctor

It was a community success. Everyone pulled together for the common good.

Murmurs of agreement around.

WEST

Yes, Doctor. The President hopes he'll find there's something to be learned from you that will help towns facing such dire circumstances in the future.

CLARA

We at the Women's Society have grand plans laid out for his visit.

WEST

I'm sure you'll do a wonderful job, Mrs. Blundell. But, before it comes to that, you must realize, the job of the Secret Service is to ensure the President's safety, and -

The Mayor leaps to interrupt. He doesn't want the girl to hear this conversation.

MAYOR

Phoebe, dear, it's getting late.

PHOEBE

Yes, Father, it is. If you'll all excuse me, I'll say good evening now and take your leave.

BANKER

Allow me to escort you, Miss Jackson.

As the two get up and EXIT, the men rise briefly to be polite to the departing woman.

WEST

I have deep concerns about the President visiting Dansville.

MAYOR

I assure you, we have the best security in the territory here.

SHERRIFF

The hasn't been a single murder in Dansville in the two years I've been sheriff.

Is he kidding? West realizes their obviously using very different dictionaries.

WEST

Twenty-three people - at least - have disappeared without any trace.

The townspeople shift uneasily and exchange glances, checking for an agreed on response.

BANKER

The people you're speaking of were black servants. Since the Emancipation...

ClARA

(interrupting, quickly)

Hear, hear: they all simply left over time to pursue their fortunes.

WEST

With all due respect, we've generally found that people come to Nevada seeking their fortunes, not run from this territory.

SHERIFF

(mocking)

Are their family's searching for them?

CLARA

(dismissing)

No, of course not. It's all so silly...

West thinks he may have entered the Twilight Zone.

WEST

My concerns...

A SCREAM from another room interrupts him.

West leads as they are on their feet, tearing out the door...

INT. HALLWAY - MOMENTS LATER

... and down the hall, where they join... A SERVANT, holding a tray of dirty dishes, standing with Phoebe, who is cowering against the wall, shaking and crying in fear.

On the floor is a DEAD SERVANT.

The Mayor immediately takes Phoebe in his arms to comfort her while the Doctor kneels down to examine the body.

WEST

How long has she been dead?

The Doctor exchanges glances with the other town elders, judging his words as he stands. There's no getting around it.

DOCTOR

An hour. No more.

WEST

Then I have no choice. Somebody in this house killed this woman, and no one is leaving until I find out who.

The townsfolk are in an alarmed panic at the suggestion - looking at each other for support, falling over each other's words -

MAYOR

(condescending)

Mister West, you don't realize that all the town's leading citizens are here -

ClARA

- You'll shut down everything -

BANKER

- I have a bank to open! There are businesses -

SHERIFF

- This is my town, West. You can't do this!

WEST

I can. And if I have to use my authority to call the Calvary to surround this place, I will.

The Sheriff lunges at West, but he steps adroitly aside.

The Sheriff lands on the floor, as the others push back against the walls to avoid the fight.

He clamors to his feet and rushes forward, plowing a fist into West's mid-section.

West crosses with an upper-right and the Sheriff collapses against the wall, unconscious.

Behind him, the Doctor grabs a knife off a servant's tray and lunges toward West -

- West spins, draws his gun and shoots.

Hit, the Doctor drops: dead.

West's attention is suddenly drawn to a noise off-camera -

SHOT - THE HALL BEHIND THE DEAD DOCTOR

- a rustle of FABRIC from a FIGURE disappears down the hall

SHOT - FULL

West tears after them -

- down the hall -

- skids at the end and turns around the corner -

- and sees no one in the hall but...

SHOT - ON WALL PANEL

As is closes.

SHOT - FULL

West runs up to the panel and pushes on it, bangs his hands against it.

Finally, he backs up and jams his shoulder against it.

It OPENS and West pushes himself inside, the panel closing behind him.

DISSOLVE THROUGH TO:

INT. PASSAGE

Barely the square width to fit West's body, with four solid walls.

West spins, pressing against the solid walls.

There's no way out.

END OF TEASER


	2. Chapter 2

ACT ONE

INT. PASSAGE

RESUME. West is still pressing against the sides of the closet. They don't budge.

He reaches up and bangs against the ceiling -

- and promptly drops, disappearing from sight.

INT. PARLOR

Phoebe is pouring drinks.

SHOT - ON WALL

A panel opens and West steps out. He's a little unnerved to find her there.

SHOT - FULL

PHOEBE

Mister West: join me for an after-dinner cordial?

WEST

Forgive me, but you seem remarkably unsuspicious at my arrival.

PHOEBE

I knew you'd be clever enough to find your way here.

West doesn't accept the drink - he's waiting for an explanation.

PHOEBE (CONT'D)

You have to excuse my father, Mister West. He's a man possessed: terrified by creatures he sees moving in the dark. When he built this house he filled it with secret passageways, tunnels, escapes -

WRST

- and traps?

He takes the drink.

PHOEBE

If you don't know their secrets.

WEST

Miss Jackson...

PHOEBE

Phoebe.

WEST

Phoebe, did you see what happened to the girl?

PHOEBE

Mollie? No, I was walking ahead of the Mister Hustin when he found her.

WEST

So he called out: alerted you to the danger?

PHOEBE

No...

(she stops in thought)

Albert didn't say anything. I heard a noise - a scuffle. And when I turned...

(she gets choked up)

There he was leaning over her...

She breaks down. West comforts her.

WEST

I'm sorry. I know how difficult this must be for you.

PHOEBE

(crying)

Mollie has - was here since I was a child. To see her like that...

WEST

Phoebe, are there any secret doors near where she was found?

She mops up her tears with a handkerchief. But she fails to answer his question - or even try to.

PHOEBE

You know, it's strange. For my father those passages are escapes from the monsters in the childhood stories he read. For me -

She moves in and wraps her arm around his neck.

PHOEBE (CONT'D)

Escapes from the prying eyes of a frightened father on nights such as this -

And she kisses him.

Because he's James West, dammit.

INT. WINE CELLAR - DAY

A small room with shelves of wine bottles against the walls. They stand upright, unlike usual storage of wine. Dominating the room are the two bodies on planks, covered with sheets. The Mayor is pulling back the sheet on the body of the Doctor.

He raises an AXE and prepares to strike when -

We HEAR the door open above and VOICES. Jackson is torn, wanting to finish his task. He thinks better of it, and, frustrated, pulls the sheet back up.

He quickly goes to the wall, pushes a panel open, and disappears behind it.

The Sheriff makes his way down the stairs, leading West and GORDON - in disguise

SHERIFF

Mister West, Barnaby Lower here is the Doctor's assistant.

GORDON/Lower

(cackling to himself)

Assistant? Clean up the messes and dig the graves is what I do. Yesssir.

Gordon continues muttering to himself as he lifts the sheets and checks over the bodies.

GORDON/LOWER (CONT'D)

Doc don't need much more help than that.

He peers under the sheet covering the Doctor.

GORDON/LOWER (CONT'D)

Now he will. Yessir. Horrible, horrible way to end.

West interrupts the conversation Gordon is having with himself.

WEST

Can you tell us anything about these people?

GORDON/LOWER

Yessir. They're dead!

Some help he is. Neither West nor the Sheriff has a reply.

Gordon goes back to wandering and talking to himself.

GORDON/LOWER (CONT'D)

Gonna half to dig two graves this day. Yessir. No rest for the weary. Gotta get 'em up and outa here first. Yessir.

He turns to the Sheriff with annoyance. Doesn't the man know the difference between a rhetorical question and a real one?

GORDON/LOWER (CONT'D)

(indignant)

Well, you gonna get me some help to get these fellers on the wagon?

West chuckles, while the put-upon Sheriff shakes his head and complies: climbing the stairs and EXITS.

WEST

I hear the grave digger doesn't have much work in this town.

GORDON

Don't be fooled by newspaper reports, Jim. People die here, just like everywhere else.

He's examining the bodies as he talks.

GORDON (CONT'D)

Town drunks, bums, drifters..

WEST

And former slaves.

The conclusion is obvious - and not pleasant.

WEST (CONT'D)

Someone is killing off people that won't be missed. The Sheriff is proud of how clean this town is. Why do we usually find that these kind of sheriffs have their own "methods" of ensuring that?

GORDON

I can't tell you what they are. I've searched the Doctor's records high and low and - nothing.

This is most perplexing. Gordon's frustrated.

GORDON (CONT'D)

And I mean nothing, Jim. He didn't make any notations at all as to how any of them died.

WEST

Well, this man died of a bullet in his chest.

GORDON

Did he?

He pulls back the sheet and opens the man's shirt.

WEST

Artie, I put it there myself...

SHOT - ON THE DOCTOR'S BARE CHEST

- and the healed gunshot wound.

SHOT - FULL

West reacts.

WEST (CONT'D)

I've never seen anything like it. Artie, dead men don't heal!

Gordon pulls up the sheet -

The laws of science don't seem to apply in this town.

GORDON

I've got something even better -

- and goes over to the woman.

GORDON (CONT'D)

There's no blood left in this woman's body.

WEST

There was no blood where she was found. She must have been moved after she was killed.

GORDON

No, no. That doesn't account for this. No one bleeds out every drop. It's like she was - drained. I found perfectly circular puncture holes on her neck.

He pulls her arm out from under the sheet.

GORDON (CONT'D)

And here, on her arm. I found a record book the Doctor was keeping on some project he was working on.

(confounded)

I can't make hide nor hair of it. It's in some code I've never seen.

This town appears to have a reason for their "awesome" security. And it's problematic.

WEST

This town is hiding something. The Mayor's afraid of monsters, Artie. I'm beginning to think he has a reason to be afraid.

GORDON

Monsters, huh? Well, I've got a theory, Jim - but I've got more investigating to do before I say anything more.

WEST

Artie, you do your investigating. Just make sure you bury these bodies first - now that the Doctor's dead, we don't need you getting fired.

INT. MAYOR'S OFFICE

SHOT - CLOSE ON MUDDY SHOES AS THEY WALK ACROSS THE CARPET

SHOT - CLOSE ON A WOODEN TRUNK or suitcase

Dirt-covered hands unlock and open it. It contains a strange steam-punk gun (Nerf Maverick painted), an assortment of bottles, an axe.

The hands place in it a wooden mallet and a handful of wooden stakes.

INT. KITCHEN

A single COOK is preparing the evening meal.

West ENTERS on his search for clues to last night's murder - specifically the weapon. He looks at the hanging pots - touches, then dismisses them.

SHOT - the cook's KNIFE as it cleanly, swiftly, chops root vegetables.

SHOT - FULL

West opens the china cabinet.

He moves to the counter and continues the search.

He examines the cutting board and the various knives and utensils on it - picks them up and considers them.

He opens a drawer, pokes through its contents, closes it.

He opens another and does the same.

He moves closer to where the cook is working.

SHOT - the KNIFE as it cleanly, swiftly, chops.

SHOT - FULL

COOK

'Efen you be hungry, mister, I ken fix you a plate.

West picks ups a cookie from the counter, flashes her his charming smile.

WEST

This will be fine. Was Mollie helping you in here last night?

COOK

No sair. She be doin' the washin'.

WEST

When did you see her last?

COOK

'Round about sundown. She be takin' the bed clothes off the line outside.

West holds up the cookie.

WEST

Thank you.

He moves past her, but just as he comes round the other side he stops, his eye caught -

SHOT - A GLASS TUBE, AN INCH IN DIAMETER WITH A PLUNGER, FILLED WITH REDDISH BROWN LIQUID

SHOT - FULL

She stops and glances over at him curiously because he stopped.

He glances back at her and smiles charmingly.

He serendipitously slips the tube off the counter as he EXITS.

INT. HALLWAY

SHOT - CLOSE ON THE CARPET WHERE THE BODY WAS FOUND

West's hand brushes over the carpet.

SHOT - FULL

West brings his hand up and rubs his fingers together, testing for wetness - blood. None.

He stands and looks around.

West is still searching for clues.

He moves to the wall and runs his hand along the wood panelling.

He steps slowly down the hallway, his hand searching the wall for any signs of a secret opening.

He turns around and retraces his steps - still searching.

He stops at the wall sconce: feels around the sconce - its shade, it's metal arm and knob.

He checks the wall sconce's facing - and stops. It's moving slightly.

He grabs it with both hands - and turns it.

A panel on the wall slides open.

INT. PASSAGE

West makes his way along a narrow hallway of plain wood walls.

INT. PARLOR

Shot - on wall panel

It opens and West steps out. He stops.

SHOT - WEST'S POV

Hustin is kneeling over the body of Clara.

END ACT ONE


	3. Chapter 3

ACT TWO

INT. PARLOR - MOMENTS LATER

The same as before. The Banker, leaning over Clara's body, notices West and stands. He knows how bad this looks.

BANKER

Mister West, I can explain...

West cautiously approaches.

WEST

Move away from her.

West's footsteps are of a predator approaching, and Hustin knows he's the prey - and there's no way out.

Hustin suddenly grabs a metal vase from the mantle and moves to throw it -

- but West jerks out his sleeve-gun and shoots the man in the hand.

Hustin drops the vase in pain and nurses his hand.

BANKER

I just found her here!

The shot has alerted the others and as West approaches the body the Mayor, Phoebe, the Sheriff and a SERVANT ENTER.

WEST

She's dead.

He stands.

WEST (CONT'D)

I found Mister Hustin here leaning over the body just a few minutes ago.

PHOEBE

(frightened)

Just like Mollie!

The Sheriff grabs Hustin roughly.

SHERIFF

You're under arrest. You're going to jail - and the rest of us are free to go now.

As he moves to pass West, West stops him with the back of his hand. He's still in charge.

WEST

No one is going anywhere. If this man isn't guilty, this could be the way the actual murderer gets out of the house and is free to wreck havoc on the citizens of this town. No one is going anywhere.

SHERIFF

(outraged)

Not guilty? He was found leaning over both bodies!

WEST

In Washington, we call that _circumstantial_ evidence.

The Sheriff is incensed, but Phoebe is starting to panic.

SHERIFF

What more do you need?

West squats down by the body, examining it and the nearby area.

WEST

Proof. Where's the weapon?

West feels the nearby carpet for blood. There is none.

WEST (CONT'D)

Where's the blood? There's none here - the killer should be covered in it.

The Mayor and the Sheriff exchange a look. They have an opinion but they don't voice it.

WEST (CONT'D)

No one is leaving this house.

Phoebe is overcome.

PHOEBE

(in rising panic)

Father... Father! I can't stay here! Not with a murderer - with people dropping around me - never knowing who's next...

She backs toward the door.

PHOEBE (CONT'D)

I can't stay here!

SERVANT

She's right. This house is a death-trap!

MAYOR

We'll lock him in his bedroom until we can sort this all out. You'll be safe.

(to Sheriff)

That will be your jail here. You'll just have to deal with it.

SHOT - WEST STILL HOVERING OVER THE BODY as they argue.

SHERIFF (OFF CAMERA)

You can stop me from leaving, West, but you can't stop me from bringing my men in.

SHOT - FULL

SHERIFF (CONT'D)

I'm not going to stand by any longer while some madman picks us off one by one!

SHOT - WEST STILL HOVERING OVER THE BODY.

SHOT - WEST'S POV

Muddy footprints on the carpet.

SHOT - FULL

West stands, pulls a piece of paper out of his jacket.

WEST

Fine. That will give the real killer more targets.

He moves over to one of the footprint and squats down.

SHOT - WEST

He uses the paper to scoop up some of the dirt, then folds the paper carefully and tucks it back into his pocket.

INT. TRAIN

SHOT - CLOSE ON THE GLASS INSTRUMENT WEST TOOK FROM KITCHEN, LAYING ON THE TABLE or desk

GORDON (O.C.)

This IS blood, Jim -

SHOT - FULL

Artie is wiping his hands on a towel.

GORDON (CONT'D)

Cow's blood. What you have here is a standard, run-of-the-mill, kitchen baster.

WEST

So she's guilty - of committing pot roast.

GORDON

I'm afraid so.

WEST

We've got two bodies completely devoid of blood and no possible weapons anywhere.

GORDON

I don't think you're going to find one. Not laying around the house, anyway.

WEST

You think the murderer is keeping the weapon on him?

Gordon walks over and picks up an old book.

GORDON

Literally.

He hands the book to West, who chuckles.

WEST

Vampires? Artie, I read Polidori's book when I was in gradeschool.

(chuckles)

I remember because I got in trouble for wasting my time on such nonsense.

GORDON

That book may be a flight of fancy, but it's based on fact. "Vampire" from the Slavic "upyr".

WEST

Vampires have been fantasied about throughout history, all over the world: that doesn't make them real.

GORDON

Peter Plogojowitz and Arnold Paole. Serbia, 1725. The two cases were well-documented, Jim: officials examined the bodies, wrote case reports, published books. I'm telling you, after their death, they attacked neighbors who later died from loss of blood.

WEST

Loss of blood. I have two bodies that were completely drained.

GORDON

(at a loss)

Hmm... yes.

(reminding him)

And a Doctor that miraculously healed after he died.

West is perplexed. The more they investigate, the more questions they get - not answers.

GORDON (CONT'D)

An entire generation took this very seriously.

WeST

Let me guess. It led to mass hysteria and public executions.

Gordon agrees dourly. The result of Human's fears are far too predictable.

WEST (CONT'D)

Artie, I don't like the idea of starting a whole new set of Salem witch trials here.

GORDON

Then you're going to love this. The dirt you found next to the body is red clay. The only place in town where there is red clay - is the town cemetery.

West reacts. Of course it is.

EXT. CEMETERY - DUSK

The small local cemetery. Most of the graves are freshly overturned.

West and Gordon move among the tombstones, looking for clues. Gordon carries a shovel.

INTERCUT - FULL SHOTS AND CLOSE UPS OF THE GROUND

As West walks along, looking, and seeing innocuous things.

Bits of mica, string, a button...

He stops at a grave and bends down. The dirt is sprinkled with rice.

Of to the side, he spots -

SHOT - WEST'S POV

- footprints in the mud.

SHOT - FULL

West gets up and follows them - and bumps into Gordon.

WEST

These graves are all freshly dug. You've been busy.

GORDON

These are old graves.

(grimly)

Someone dug them back up. Jim -

Gordon pushes the shovel into the dirt.

GORDON (CONT'D)

These graves are all empty.

In case the look on West's face holds any doubt, Gordon confirms it.

GORDON (CONT'D)

Jim, as far as I can tell, there's no one dead in this town.

That's not good news.

Next to the grave Gordon is at, West spots -

SHOT - THE DOCTOR'S TOMBSTONE

SHOT - ON WEST

West moves over and squats down next to the Doctor's grave.

Spying something odd, he reaches out and brushes away the dirt.

WEST

Artie, what do you make of this?

There is a wooden stake protruding from the middle of the ground.

West reaches for it but Gordon's alarmed voice stops him.

GORDON

Ah, ah, ah...!

West hesitates, looking to him for an explanation.

GORDON (CONT'D)

Jim, I'm not sure you want to do that. Staking the body to the ground is one of the ways to keep them from rising.

He gestures at the rice-strewn grave he's at.

GORDON (CONT'D)

It's like the rice: vampires are compelled to count it all before they can move away. It keeps them here - and away from living people.

West gapes at him. Seriously? Artie believes this? He chuckles at his friend and pulls the stake from the ground.

He stands and holds up the stake for Gordon to see. It's covered with dirt and blood.

GORDON (CONT'D)

Ash.

He's satisfied that he was right...and let's West know it.

GORDON (CONT'D)

The preferred wood of vampire hunters.

Their gaze holds a moment, then they laugh.

WEST

(defeated)

Artie, there's nothing in this graveyard here but a lot of superstition. C'mon.

He tosses the stake backward as they move off.

SHOT - ON THE STAKE LAYING ON THE DOCTOR'S GRAVE.

WEST (O.C.)(CONT'D)

I just feel sorry for the young lady.

GORDON (O.C.)

I'm sure you do.

Fingers start to worm their way out of the dirt.

INT. MAYOR'S OFFICE

On the wall is a large portrait of Abraham Lincoln, which is prominent in the shot while the two men exchange heated words.

SHERIFF

You've brought this all on us! You, with your big plans...

MaYOR

Nothing has changed.

SHERIFF

Inviting the President! Did you think he was just going to show up and say 'how-de-do'?

MAYOR

If we're going to be successful he's got to be involved. He's got to know!

SHERIFF

And you're the one to involve him. You and your pride... it's too much, too soon I tell you!

MAYOR

You know I don't come up with these things on my own. I have my instructions. Instructions I don't question. I'll follow him to Hell and back if that what he calls for!

The Sheriff is dubious, thinking that hell may be coming to them.

MAYOR (CONT'D)

This is a minor set back, Jacob. West was right: with everyone here we get control back. And we have to do it tonight.

SHERIFF

And then we just have to get rid of West.

INT. HALLWAY OUTSIDE BEDROOM

Four of the Sheriff's men are standing guard, well-armed.

West approaches.

WEST

I need to have a chat with our prisoner.

By the guards reaction, that is clearly not going to happen.

GUARD ONE

No one sees the _Sheriff's_ prisoner.

Not if the guards have anything to say about it.

GUARD TWO

We have our orders.

WEST

Gentlemen, I think we have a misunderstanding here.

The guards don't think so.

WEST (CONT'D)

I'm going to talk to the prisoner of the _Secret Service_ -

The brutes are circling in..

WEST (CONT'D)

- and I'm going to do so now.

A guard swings a rifle at his head, using the butt end as the weapon. West ducks and drives his fist into the guards stomach. The guard goes flying back.

Another guard comes from behind and chops West, who goes down with a heavy thud.

The third guard aims a vicious kick at West's head.

West spins, grabs the leg and twists. The man is catapulted backwards.

West vaults to his feet and swings at guard one.

West knocks him backward into the wall, where the guard begins to gain his footing again.

West grabs the rifle in his hand and kicks him backward.

As the guard collapses, West jams the butt of the rifle backward and slams it into the stomach of the second guard - who goes flying back and collapses.

West sighs, and drops the rifle on the unconscious body. He straightens his jacket.

INT. BEDROOM

West ENTERS. He's ready to talk.

But no one is there.

He snoops around the room halfheartedly.

The man's not there.

Somehow, West isn't surprised.

Nothing here surprises him any longer.

But it doesn't make his job any easier.

West turns toward the camera, tips his hat back, and puts his hands on his hips.

The Doctor steps into the frame behind West.

END ACT TWO


	4. Chapter 4

ACT THREE

INT. BEDROOM

RESUME - the same as before.

The Doctor grabs West from behind, wrapping his arm around him, grabbing his head, and yanking it to the side as he leans in for lunch...

West grabs the man's hair and yanks him forward. He twists, turns, flips the man onto the floor.

West grabs a nearby, large vase and raises it over his head.

He freezes - shocked that it's the Doctor.

SHOT - WEST'S POV

The Doctor seizes on West's hesitation and spins over, scrambling away.

SHOT - ON THE DOCTOR

As he raises a knife - then suddenly arches backward in a spasm of pain.

SHOT - FULL

The Mayor has an axe buried in the Doctor's back. The Doctor yanks forward and free of the axe, stumbling a few feet before he gets his footing again.

But he does. And he goes after West again, launching into the air and knocking him down.

The two wrestle.

West is trying for the upperhand, while the Doctor is just trying for a mouthful.

The Mayor shuffles around them, trying to get a shot with the axe in his hand - but he'll get West if he swings.

The fight continues. West hits the Doctor with blows that would end anyone - any human.

As the Doctor spins away from a blow, the Mayor swings and buries his axe right into the man's stomach.

The Doctor lurches, stumbles and stops. He yanks the axe out and flings back toward the Mayor with a mighty swing - not even fazed by the blow.

The Mayor jerks sideways and the axe misses.

The Doctor lurches for the Mayor, but West has figured out the only end to this involves the axe - and West keeping the Doctor distracted enough for the Mayor to use it.

West throws himself onto the Doctor before he reaches the Mayor.

They tumble. West plants his foot in the Doctor's gut and launches him backward.

West scrambles to his feet, plants his feet and prepares to face off with the Doctor as he turns to face West.

West pulls back his arm to punch...

SHOT - ON THE MAYOR

As he swings the axe with a fierce sideways blow.

SHOT - ON WEST

As a streak of blood slices across his face.

SHOT - THE MAYOR

As he swings the axe down repeatedly as he dismembers the Doctor's body.

CLOSE SHOT – WEST REACTING TO THE bloody death.

FULL SHOT -

The Mayor, bathed in blood and still carrying the axe, walks over to West.

The two stand, out of breath - surveying the room.

SHOT - THEIR POV

The room is trashed. Blood puddles, blood scatter - and pieces of the Doctor - everywhere.

SHOT - ON WEST AND THE MAYOR

MAYOR

All in a day's work.

West isn't thinking of applying for employment anytime soon.

INT. WEST'S BEDROOM

In the Mayor's house.

SHOT - wall mirror.

West is looking into the wall mirror, dabbing his face clean with a cloth. He's not wearing his jacket and his shirt collar is unbuttoned. (If this were WWW he'd be shirtless, but this is BTWW, so we know that 'aint happening.)

WEST

So, how long have you've been moonlighting as a vampire hunter?

SHOT - FULL

Gordon is in the room and the Mayor is seated.

MAYOR

It's much more than a sideline, gentlemen: I consider it a calling. Being Mayor helps me coordinate with the other hunters in the area.

GORDON

There are more vampire hunters?

Silence. The Mayor has gone too far.

After a moment he accepts there's no going back.

MAYOR

Not enough.

The Mayor stands up.

MAYOR (CONT'D)

Vampires are everywhere, scattered about, mixed in with humans. You don't see them because you have to be trained - trained to notice their aversion to light, their abhorrence of all things sacred...

The stopper is out now and the words rush out like a freight train barrelling down a mountain without brakes.

MAYOR (CONT'D)

There's a conspiracy, gentlemen. These creatures are making their way into governments world-wide. Our government! If they succeed with their nefarious plans this land will be nothing but a breeding ground for their food supply!

If this were any other show, he'd sound insane. But on this show, he makes a lot of sense. Still, despite what they've seen, it's still a lot for West and Gordon to digest all at once.

MAYOR (CONT'D)

You don't believe me.

GORDON

Mister Mayor, no scientific man could deny the proof that we've seen. There are vampires among us.

WEST

It's the conspiracy we've seen no proof of.

MAYOR

That's why you must convince President Grant to come here as soon as possible - so we can show him the truth.

Grant here? Yeah. There's not a chance in hell that's happening.

WEST

It just seems word of such a wide-spread conspiracy would have reached Washington by now.

MAYOR

(calm, with conviction)

Some of my orders come from men who's names you would recognize.

WEST

Rest assured, we'll be advising the President of the situation in our report.

GORDON

(reassuring)

Our very detailed report.

MAYOR

Than I'll say good day to you so you can start on your journey immediately.

He EXITS.

WEST

The Mayor is pretty eager to see us leave.

GORDON

You noticed that too, hmm?

West is buttoning his cuffs.

GORDON (CONT'D)

(musing)

It's hard to imagine a whole society of vampires hidden - living among us. If I hadn't seen it with my own eyes...

West is more concerned with the immediate problems the truth is causing them.

WEST

We've gained a conspiracy and still have two unsolved murders on our hands.

GORDON

You were with the Doctor when both Mollie Smith and Clara Blundell were killed.

WEST

And Albert Hustin is still missing.

He shrugs on his jacket.

WEST (CONT'D)

Artie, I'm going to do some more checking around - so I won't be bothering you while you're writing up that "detailed" report.

GORDON

You're too kind, my friend: too kind.

INT. MAYOR'S OFFICE

West is searching for clues.

He finds a hand-written note on the desk, opens it.

Something intrigues him - and he folds it back and tucks it in his pocket. Moves on...

We HEAR VOICES at the door.

SHOT - The doorknob

- as it begins to turn.

SHOT - FULL

West darts toward the side door and yanks on the knob.

It's locked.

He spins, looking for another way out. There isn't one.

He spies the curtains hanging on either side of the fireplace and tears over to them.

He steps behind one of them, pulling it around him.

SHOT - ON DOOR

As the Mayor ENTERS

SHOT - ON THE CURTAIN

And West's boots poking out from under it.

SHOT - FULL

As the Mayor strides toward his desk.

SHOT - ON THE CURTAIN

West's boots are gone.

INT. PASSAGE

This passage looks the same as every other passage. A narrow hallway of plain wooden walls.

West is surprised to be there, but immediately sets out to find his way out.

West travels down the passage -

- where he finds an end, intersecting a passage running perpendicular to it. He hesitates a moment before darting down the right passage.

West travels down the passage -

- finds another intersection. This time he goes left.

- and down that passage.

Another intersection. Another left.

West travels down this passage only briefly when -

- a dead end.

West turns around and goes back -

- down the passage

- past the intersection and onto the right

- down that passage when -

- another dead end.

Frustration.

West turns around and heads back for the intersection.

As he approaches -

- a wood panel slides down over the opening.

West's trapped.

INT. MAYOR'S OFFICE

The Mayor is at his desk when Phoebe ENTERS.

He looks up as she crosses to him.

PHOEBE

Father, I can't find Mister West anywhere!

MAYOR

He's gone dear. On his way back to Washington.

PHOEBE

His things are still in his room.

That's not good news for local government.

INT. PASSAGE

West is exploring the short corridor of wooden walls that he's trapped in.

Feeling along the paneling, pushing, picking at seams with his fingernails - but finds nothing.

West stops and pulls several pieces of a device out of his jacket pockets.

He assembles them, then turns it on.

A small stream of smoke billows out of the end of it.

West turns and points the device at the seams in the wooden walls, running it up and down the seams.

He moves on to another and does the same.

And another -

West moves to the panel blocking the end and repeats the process.

SHOT - ON SEAM

The smoke is sucked into the seam.

SHOT - FULL

West quickly runs the smoke device over the four seams of the panel - the smoke is absorbed by all of them.

He drops the device and pulls open his belt buckle.

Pulling out a coiled wire rope of explosive, Jim uncoils it and presses it into the seam around all four edges of the panel.

West strikes a match, lights the explosive -

- and ducks as there is a small explosion.

West darts to the missing panel -

- and grabs the edges, at the last minute catching himself before he falls -

SHOT - WEST'S POV

- the WINE CELLAR - a sheer drop some 30 feet below him.

SHOT - ON WEST FROM PASSAGE

West steps back and activates his sleeve gun.

He takes the metal wedge out of his pocket and fits it into the gun barrel. He ties the end of the wire spool onto it.

MATCH CUT TO:

INT. WINE CELLAR

West steps to the ledge of the passage, balances himself, and shoots the wedge into the ceiling.

He takes hold of the wire spool's ends, balances himself, and lets himself swing off the edge.

West slowly descends to the floor as the wire spools out.

As his feet hit the floor, he yanks the wedge loose and starts winding the wire back on the spool.

West turns and strides up the stairs to the door.

It's locked.

Seriously?

Jim yanks on the door knob again, jostling it fiercely.

He's hit from behind and falls over the rail and onto the floor -

- unconscious.

END ACT THREE


	5. Chapter 5

ACT FOUR

INT. BASEMENT LABORATORY

SHOT - EXTREME CLOSE UP of West's face

Collapsed, his chin against his chest - unconscious.

He starts to rouse.

SHOT - PULL BACK

West is in a wooden chair, his feet tied together at the ankles with a rope and his wrists cuffed to the side arm supports with an individual handcuff on each side.

He looks around -

SHOT - WEST'S POV - PAN ROOM

A typical laboratory - for any steam-punk mad scientist. Equipment, tools - and dusty, dark wine bottles scattered about.

Dominating the room, and in front of West to the right, is a gurney taken right out of a prison's lethal injection room, with extensions for the arms. Strapped to it is Albert Hustin. He's hooked up to a primitive device that we can nonetheless recognize as an I.V.

SHOT - the tube connected to his arm vein with a needle

Camera follows the tube to the other end - a jar of bright red blood

SHOT - WEST REACTS

This just keeps getting better.

And his eyes move to -

SHOT - WEST's POV

A second table next to it, ominously empty: waiting for west

SHOT - FULL

West takes a minute to check his own current predicament.

He tries to pry his legs apart. He jiggles the chair. He yanks on the handcuff chains.

That's it.

He wraps the chain from one handcuff around his hand once to get a grip on it. He pulls the other cuff until it is positioned at the joint of the chair arm and its support.

He yanks.

Not enough leverage.

West jumps his feet onto the seat chair so that he is in a squatted position. Using his shoulder to add strength, he yanks on it again. The arm inches apart from its support piece.

One final yank and the arm separates from the support, and the cuff swings free.

West does the same on the other side. Wraps the chain around his hand and yanks.

Yanks again. The cuff swings free.

West reaches a hand around to untie the knot on the ropes binding his legs together -

- when -

SHOT - secret door to the wine cellar in the wall at the head of the gurneys.

The Sheriff ENTERS, brandishing a gun.

SHOT - FULL

He strides around the gurneys and finds -

SHOT - WEST

Sitting in the chair, handcuffs back in their original position and rope still around his ankles.

SHOT - FULL

The Sheriff is pleasantly relieved by West's relaxed presence and obvious acceptance of his situation.

He holsters his gun.

SHERIFF

Thank you for joining us, Mister West.

WEST

I would have been here sooner, but the invitation didn't have directions. Hell of a time finding the place.

The Sheriff starts to prepare the other table. He gets an empty IV bottle -

SHERIFF

You're young, strong - in robust health. I wanted your blood from the first moment I saw you. With who you are, though, I thought it was impossible.

The Sheriff retrieves the tubing and attaches it to the bottle.

SHERIFF (CONT'D)

And now here you are, offering your blood to me...a true gentlemen. Thank you, Mister West.

WEST

Actually, I just had pasta with garlic sauce. I thought I'd warn you - I don't want to give you indigestion.

The Sheriff opens the restraint buckles and lays the restraints open to allow room for West's body.

SHERIFF

We've had wolfpacks roaming the countryside. You shouldn't have gone hunting alone.

WEST

I'm afraid I don't hunt.

SHERIFF

(flat)

I do.

The Sheriff raises and prepares a long, ominous needle.

SHERIFF (CONT'D)

Your blood has a robust vitality I haven't seen in these parts in years.

WEST

That's the problem you encounter you take when you eat all your neighbors.

The Sheriff approaches West, needle in hand.

SHERIFF

(dry)

Humor isn't passed along in the blood.

At the sight of the needle, West reels - woozy.

WEST

I'm afraid... I don't do well with needles...

The Sheriff reaches to catch him as he succumbs to the vapors-

- and West's feet come up, pounding into the Sheriff's stomach -

- the Sheriff goes flying back, smashing down into equipment.

West yanks the loose rope off his ankles and gets up, but the Sheriff is already back up -

The man swings at West, but West ducks and dives to the right.

The missed punch unbalances the Sheriff and he stumbles forward.

West grabs him from behind and wraps his handcuff chains around the man's neck.

West strangles the man as he struggles unsuccessfully.

The Sheriff chokes and falls down, unconscious.

West unhooks the handcuffs from his wrist and drops them, then EXITS through the door to the wine cellar.

Hustin sits up and swings his legs over the edge of the table.

INT. TRAIN

Gordon is working at a desk covered with the Doctor's record books and papers. It's clear from his disgruntled demeanor that he's not having much success.

The carrier pigeon bell rings.

He gets up and goes over, opens the panel on the side of the fireplace, and retrieves the pigeon.

GORDON

Hello, Arabella. How was your trip? Now you didn't say hello to any of those lovely hawks on your journey here, did you?

He retrieves the message from her leg while talking, then puts her back in the panel.

GORDON (CONT'D)

Thank you, dear.

He paces back to the desk, unrolling and unfolding the paper.

He sits down, studying it...and starts checking back and forth between the paper and the books on his desk.

This - is EXACTLY what he's been waiting for. The key to the code in the Doctor's books.

He uses the message from the pigeon to quickly start decoding what has been frustrating him. Eager, excited by success...

- until he sees what the decoded books say. His face falls.

He's shocked. Then he realizes its implications for his friend - and he's horrified.

He grabs his hat and coat, not even bothering to put them on as he tears out the door.

INT. MAYOR'S OFFICE

The Mayor is arming himself from his kit. He's holding both his axe and the strange steam-punk gun from his kit.

West ENTERS.

MAYOR

Mister West, you're safe!

WEST

I had a tour of the other side of your basement, Mister Mayor.

MAYOR

It's not what you think. Let me explain -

He approaches West, entreating -

MAYOR (CONT'D)

Vampires are pure evil, but these creatures have taught us something vitally important.

Hustin ENTERS from behind West.

The Mayor sees him and keeps talking, keeps luring West further into the room.

It works, West presses in toward him, their positions jockeying as if they are boxers as the Mayor positions West in line with Hustin.

MAYOR (CONT'D)

Blood is full of life-giving properties. Animal blood will do, but human blood - _human_ blood has benefits we are only beginning to discover...

Hustin grabs West from behind and yanks his head to the side, trying to dine.

West struggles against him with little success - except to prevent the meal.

Gordon and Phoebe ENTER from behind West. Phoebe is terrified by the situation and cowers against the wall.

Gordon grabs a nearby wine bottle and smashes Hustin over the head with it.

Hustin releases West as blood - from inside the bottle - streams over Hustin's face and neck.

Yes. The bottles area all full of blood.

Hustin wipes his face off with a hand as he turns on Gordon, sucking on his fingers as he draws them over his mouth.

Gordon's not used to battling vampires. He's taken aback.

The Mayor grabs a pistol-sized crossbow out of his kit, loads it with a wooden stake...

Hustin lands a right cross on Gordon's face and knocks him off balance. He goes reeling into the furniture.

West smashes a chair across Hustin's back.

The Mayor aims, fires - and misses. The small wood stake sails past West's head and buries itself in the wall.

West's head snaps around to it. _Who_ exactly did the Mayor miss?!

Hustin attacks him again fiercely.

Phoebe moves along the wall, hugging it as she tries to keep out of danger.

Gordon is up, a gun aimed at the fighting West and Hustin.

West is trying to beat Hustin; Hustin is trying to eat West.

Gordon shoots and hits Hustin square in the chest.

Hustin reels, recovers, and is enraged. He charges toward Gordon.

Gordon shoots again - two bullets in rapid succession - but stumbles and misses the charging Hustin - but hits the Mayor behind him. Which slows the Mayor down for almost an instant.

Gordon fights back the advances of Hustin with a series of blows -

The Mayor reloads the cross bow

Hustin is knocked into West's flying fists.

The Mayor shoots the cross bow -

- and hits Hustin in the heart.

Hustin falls to his knees, then dies at the Mayor's feet.

As the Sheriff ENTERS from behind the Mayor.

PHOEBE

Father!

The Mayor spins and, seeing the Sheriff, jerks backward as -

- Phoebe jerks out her arm, pointing it at the Sheriff. On her hand is a sterling cannon-shaped ring. She shoots its glass tube, filled with clear liquid, at the Sheriff.

It hits the Sheriff and bursts, releasing a massive blast of steam from holy water on him.

He dies -

- horrifically. That's how vampires die.

The Mayor is straightening his clothes and putting himself back together.

West and Gordon stare at him, breathless.

The fact remains - the Mayor survived the gunshots without damage. West and Gordon know exactly what that means and exchange an acknowledging glance of mutual planning.

The Mayor catches it. Crap!

He grabs the steam-punk revolver out of his kit and swings on West -

As West steps deliberately into the stream of sunlight pouring into the room from the window. He activates his sleeve mechanism -

- its a gun fitted, where the sights would be, with a small round mirror in the back and a Fresno lens in the front. When he points it at the Mayor, the light from the window bounces off the mirror and shoots through the lens -

- and covers the Mayor is a blast of sun light which melts him into a screaming, writhing mess.

He dies.

Finally - the last of them.

West admires the new gun with relief that it worked -

- and nods at Gordon in appreciation.

Gordon acknowledges. It's nothing. All in a day's work.

INT. TRAIN

GORDON

According to Robertson's records, they were experimenting with long-term storage of blood. They thought _transfusing_ healthy blood into a sick person could cure them.

WEST

(wryly)

And they used to think bleeding bad blood from a person would cure them.

He hands Gordon the folded note from his pocket.

WEST (CONT'D)

What do you make of this?

GORDON

(reading)

_"Your recent success brings great joy to my heart. I prevail upon you to be evermore on guard, and wary of all strangers that cross your path. The enemy is surely on an exodus to the wild lands of the west in the hopes of unhindered evil. These coming months are ever important in our dutiful work to bring peace, at last, to this land."_ It's signed "A"

Gordon lowers it, stunned.

GORDON (CONT'D)

Jim, do you know what this is?!

WEST

So, you recognize the handwriting?

GORDON

I most certainly do! And I think the gentlemen at the National Archives will be very interested to see this!

WEST

Artie, it's dated this year - May 1876.

Gordon does a double-take and inspects the note. A dead president it writing letters. He's speechless.

West was hoping for more.

Phoebe ENTERS from the other part of the car. It ends their discussion. She's dressed in a navy colored dress.

PHOEBE

I want to thank you gentlemen for escorting me to Carson City.

West kindly helps her put a long black cloak over her shoulders.

GORDON

Our driver will take you to the station. They're holding the train for you.

WEST

I'm sorry we couldn't escort you all the way to Maryland.

PHOEBE

You've done so much for me already. Getting me out of that awful town...

She is pulling on black gloves.

GORDON

A young lady of your refinement should never have been subject to such things.

She picks up a black umbrella and moves over to the exit door.

PHOEBE

I'm going to join a Civil War aid in her important work trying to learn the fate of all those poor missing soldiers. I feel like I need to give something back - and perhaps be of some service to the government in Washington as well.

GORDON

Rest assured, the west will be all the poorer without your stunning countenance.

West kisses her gloved hand.

WEST

Dear lady, the thought of you in Washington will weigh heavy on our hearts.

PHOEBE

(sweetly)

As it should, gentlemen.

Phoebe puts dark sunglasses on.

And smiles.

(She's a f'ing vampire.)

(And she's neither vapid nor terrified.)

FADE TO BLACK.

THE END 

AUTHOR'S NOTES:

All the characters are named after actual people involved in blood transfusion research or people involved with the start of the American Red Cross. Except "Mollie Smith"... Which is the name of the first victim of a string of unsolved (to this date) of 23 murders of Negro servants in a western town.

The "Civil War Aide" in Maryland is Clara Barton, who late in 1876 - with the aide of some women working with her - started working to get the government to form the American Red Cross.

"Dansville" is the name of the first town (in New York, by the way) to have a chapter of the American Red Cross, where the ARC started.

The description of vampires, and vampire hunting techniques (dismemberment by the axe) are in keeping with those detailed in "Abraham Lincoln: Vampire Hunter" - which was suggested/requested as my inspiration by James Cawley. As is the description of how Phoebe disquises herself/prepares to go into the daylight.


End file.
